September 26, 2017

Changing Gears

By weaving a series of duets about an evolving relationship into a fabric of the powers that hold us in thrall, Paufve Dance's "XO: Exquisite Orientation" inserted a hopeful note into a turbulent world. At a time when human folly appears to compete with natural catastrophes, such an enterprise might seem naïve or an act of blindness. But Randee Paufve is no Pollyanna; she calls her latest work an “act of resistance.” An eloquent, deeply considered piece,“XO” makes its points subtly, convincingly in terms of dance.

Dancer: Nadhi Thekke.Photo: Kaveri Seth.

In "XO" four duets that Nol Simonse created for himself and Paufve, he proved himself a keen observer of personal potential. Each of the encounters suggested a different stage: from initial exploring, to rejection, passion and uncertainty to finally loving acceptance. The sections could stand on their own, yet each of these finely carved parts contributed to a convincing trajectory. Simonse has been a fine versatile performer for many years. Lovely to see was that now he seems to have developed an individual choreographic voice.

Paufve imbedded the quartet of duets into company solos and group sections that evoked an environment both mythic and human: Queen, Mother, Witch with Sun, Moon and Warrior. From a static though rich texture,"XO" grew a trajectory in which what at first had looked like independent statements opened towards a whole. Crystal Dawn Bell's 'Queen' -- nuanced from the tip of her toes to the top of her head -- became an image of control to which humanity could only genuflect. Bell was so exquisite that I found it difficult to see her as something akin to a menace to the rest of us. A celestial counterpart, Nadhi Thekkek's 'Sun', made her dominance felt with a contemporary perspective on Bharata Natyam. Her stretched out arms, pealing fingers and precise but unprepared hops wove their way throughout "XO".

Julia Monin's 'Mother,' almost a Mater Dolorosa though without a child, certainly had no trace of June Cleaver about her. Weighted and downcast, she seemed searching for, perhaps, her children all over the globe, a reminder of all the desperate mothers throughout history. I kept thinking of Brecht's Mother Courage. Maybe Monin's opposite was Anna Greenberg's fierce 'Witch' who tore into space on a diagonal as if tearing it apart. Unstoppable, her torso whipping, leaping and kicking legs, she shout out her arms and, in an act of ultimate defiance, forced those finely articulated fingers into a fist.

'Witch" had segued from 'Storm', an ensemble which showcased the multi-textured cohesion of Paufve Dance. With the subsequent three duets,"XO" shifted gear. What had been primarily asked for resistance, morphed into a kind of cooperation, not unlike what Simonse and Paufve experienced. 'Duets' three waltzes, for Rogelio Lopez and Michelle Turnstall, Bell and Andrew Merrell and Bell and Turnstall, may have subtly addressed gender relationships but by doing so they also suggested something like alternatives to the current state of affairs. Choreographically, none of these seemed particularly potent, except perhaps for the first one which partnered Turnstall and Lopez; they looked physically mismatched but were anything but. 'Prince and Warrior: Touch Faith' for Merrell and Lopez could have been richer and more complex in suggesting an initially, competitive relationship that grew into a tenderly loving.

Paufve engaged refined collaborators. Lauren Elder's set of a bush hanging upside down was full of tiny details that shimmered but whose scale made them difficult to read. Much of the wondrous score (edited by Leandro Damasco) was a "gift" by composer Peter Whitehead. Some of it was borrowed, taken from a "Giselle" for which he apparently created a score. The breadth and subtlety of this music were pleasures on their own. Lopez's split skirts with patch work pattern worked excellently. Clearly, they originated from a dancer's sensibility.